35 gospel favorites for Organ: 'Amazing Grace' 'Blessed Assurance' 'Higher Ground' 'I Love to Tell the Story' 'In the Garden' 'Just a Closer Walk with Thee' 'Nearer My God to Thee' 'The Old Rugged Cross' 'Precious Memories' 'Rock of Ages' 'Shall We Gather at the River?' 'Sweet By and By' 'What a Friend We Have in Jesus' 'Whispering Hope' 'Wonderful Peace ' and many more.

Description For the occasion of the coronation of King George II and Queen Caroline, which took place in Westminster Abbey on October 11, 1727, Handel wrote four splendid anthems and personally supervised their performance which was, according to all reports, one of great magnificence. The four anthems were enthusiastically received, and one or more of them has been performed at every British coronation since 1727. Anthem No. 2 ('The King Shall Rejoice'), although less well-known than Anthem No. 1, is an equally splendid example of Handel's ceremonial style - what Burney has affectionately termed his 'big bow-bow manner'. This work contains an opening Allegro, brilliant and elegant rather than pompous; a grandiose setting of 'Glory and great worship hast thou laid upon him'; and a lively fugal Alleluia as a conclusion. For six-part chorus of mixed voices with organ or piano accompaniment. Edited and with keyboard reduction by William Herrman. Songlist The King Shall Rejoice

Sacred and hallowed fire was commissioned by Harrison & Harrison as part of their 150 years celebration of organ building. It is one of a trilogy of works for organ by McDowall which draws from the poetry of George Herbert.

Sir George Thalben-Ball was organists of the Temple Church in London for over sixty years. Also a music advisor to the BBC his compositions include Elegy Tune In E In The Style Of John Stanley Variations On Psalm And Hymn Tunes and Variations On A Theme By Paganini For Organ Pedals.

8 beautiful arrangements of classic hymns: All Hail the Power of Jesus' Name * All Through the Night * Come Ye Thankful People Come * Have Thine Own Way Lord * Joy to the World * A Mighty Fortress Is Our God * Precious Lord Take My Hand * Shall We Gather at the River.

Réjouissez-vous silencieusement et de manière discrète, 'Missa paschalis', avec sa mélodie lyrique et la sonorité agréablement austère, raconte le thème de chaque célébration de la Messe: l'espérance de la résurrection.Merci à son instrumentation variable, le calme et la simplicité ainsi que sa voix vocalement gratifiant de pointe, la masse peut être effectuée tout au long de l'année ecclésiastique. / Orgue

10 Orgelwerke Aus 4 Jahrhunderten-New Music on old instruments and new organ literature in dialogue with historical Iberian works. The present edition contains a collection of works composed for an authentically rebuilt historical Spanish organ and covering a wide range of styles which adds new sounds to the purely Baroque repertoire.With works by José Blasco de Nebra Francisco Correa de Arauxo Antonio de Cabezón Pedro de Araujo and new compositions by Guy Bovet Michael Kapsner Pavel Klimashevsky Zsigmond Szathmáry and Alfred Müller-Kranich.The new Spanish organ of the Hochschule für Musik Mainz as an authentically rebuilt historical instrumentfrom the workshop of the organ builder Joaquín Lois from Tordesillas in Castile shall both adequately reproduce early music and be a source of inspiration for contemporary music. For this reason the Hochschule für Musik Mainz commissioned five composers to write modern compositions according to the motto 'Early music in dialogue with New Music' which are a valuable addition to the repertoire of historical instruments of the 'Siglo de Oro'.Certain specifications had to be taken into account: e. g. a limited pitch range half stops for treble and bass registers the short octave as well as a mean-tone temperament. In addition each composition is based on a work of the Iberian organ literature; sometimes the work found its way into the new composition sometimes it only served as an inspiration.The pieces can also be played on a modern organ although there is a special charm in playing and hearing them played on an appropriate historical instrument. Encompassing a broad range of styles the resulting collection adds new sounds to the purely Baroque repertoire.

Volume 3 in our successful ?Enjoy The Organ? series offers attractive Organ pieces from the 17th to 20th centuries suitable for performance on smaller instruments and capable of producing impressive results with a limited amount of practice time.Among the pieces in Volume 3 are Juan Cabanilles' ?Batalla Imperial I?; Johann Baptist Vanhal's ?Sonatina in F major?; Robert Schumann's ?Adagio? from op. 70; Gabriel Fauré's ?Cantique de Jean Racine? op. 11; and Pietro Yon's ?Humoresque?.These pieces are intended primarily for the amateur organist but will also appeal to professional church musicians whowill find the collection useful as literature for sight reading and as a starting point for improvisation.Contents:Batalla Imperial I [Juan Cabanilles]Andante - Poco vivace [Johann Georg Albrechtsberger]Sonatina F major [Johann Baptist Vanhal] Adagio from op. 70 [Robert Schumann]Offertoire [Antoine-Édouard Batiste]Cantique de Jean Racine op. 11 [Gabriel Fauré] Humoresque Toccatina for flute stops [Pietro Yon]- Geared towards amateur church musicians and organists.- Collection of easy-to-play concert pieces for Organ.- Also effective on smaller instruments.- Already published Enjoy the Organ 1 (BA 11207); Enjoy the Organ 2 (BA 11208).

Harmonizations of 8 hymns for congregational singing arranged by Mark Thallander. Includes: Angels from the Realms of Glory • Jesus Shall Reign • O The Deep Deep Love of Jesus • O Worship the King • Our GreatSavior • Praise the Lord! O Heavens Adore Him • Sing Praise to God Who Reigns Above • We Praise You O God Our Redeemer.

The complete edition of Bunk?s Organ music comes to an end with the publication of volume VI which contains organ works of a primarily liturgical nature. The quality of the music can be compared with compositions by Max Reger and Sigfrid Karg-Elert.This Urtext edition prepared by the composer?s grandson is the result of a thorough study of the sources based on the latest findings of musical scholarship. Each volume includes a detailed foreword a Critical Commentary and many facsimiles and illustrations.Inserted in the volume is a CD which shows a facsimile reproduction of the first edition of Gerard Bunk?s Liebe zur Orgel. Thisreference book by the late Romantic composer which was highly regarded by none less than Albert Schweitzer and which affords valuable insights into the art of Organ building and Organ playing in Germany during the first half of the 20th century has hence been made available again to interested organists and church musicians.- First complete Urtext edition of Bunk?s Organ works.- Edited by the composer?s grandson.- Detailed foreword and Critical Commentary for each volume (Ger/Eng).- Many facsimiles and illustrations.Contents:?Wilhelmus van Nassouwe en Choral? ?Nun danket alle Gott?.?Kleine Fantasie über C.H.D.B.? for Organ or Piano.Chorale prelude ?Wachet auf ruft uns die Stimme? (trio for 2 manuals and pedals).37 short chorale improvisations for liturgical use.

Josef Rheinberger (b. 1839 d. 1901) was a prolific composer in almost every field but he found in the Organ the medium best fitted to his genius and temperament. This seems to be proved by the fact that his reputation as an Organ composer has grown and is now firmly established whereas his position in other branches has declined. His twenty sonatas and his numerous shorter pieces (about a hundred) make up one of the most important contributions to the Organ repertory. It may indeed be claimed that in the maintenance of a high level of quality and interest throughout a long series of works of both large and small scale his position as an Organ composer issecond only to that of Bach. Sonata No. 19:The G minor Sonata is one of a small proportion of the twenty - No. 15 in D is another - concerning whose merits players are divided. It does not meet one half-way. It is the longest of the twenty: some monotony inevitably results from the use of the key of G for all its movements : its difficulties are of the ungrateful type : and the vigour of its first movement is often rough-even harsh. Yet it appears to be among the favourites of those who know it well; the late Dr. G. J. Bennett (a pupil of Rheinberger's and a devotee of the Sonatas) placed it among the best of the later numbers. Sonata No. 20:In spite of some inequalities No. 20 makes a worthy end to a fine series. Rheinberger's failing health at the time of its composition is no doubt responsible for a few moments of indecision especially in the Finale. The invention shows little if any falling off. In all the sonatas there are few better themes of the broad diatonic type than that which opens the first movement ; and the pleasant tunes of the Intermezzo and Pastoral and the swinging subject of the Finale are in the true Rheinberger vein. But the lack of a substantial fugal section is felt: it might well have come as a central portion of the Finale which

from the Opera 'Tannhauser'-During his time in Weimar (1848 1861) Liszt developed a then entirely new organ style which stands out for both orchestral and pianistic elements. Together with the choirmaster Alexander Wilhelm Gottschalg (1827 1908) from Tiefurt he regularly initiated so-called 'organ conferences'. And it was at the suggestion of Gottschalg that the present arrangement of the Pilgrim's Choir from the opera 'Tannhäuser' was written. With his version for organ Liszt by means of this example laid the foundations for the (not always undisputed) tradition extending to the present day of organ transcriptions from the operas of Wagner. 'Organistic' elements in the Pilgrims' Choir are theclassical chorale theme the solemn 'sacred' atmosphere of the solemn tempo as well as the expressive cantability. The linear intensification from the antiphonal-organ-like piano dolce of the beginning to the 'full organ' can be realized in a convincing manner with an orchestrally conceived three-manual organ with the sensitive use of the swell box and the successive seamless build-up of the crescendo pedal being of particular significance. Important repertoire piece marking the 200th birthday of Richard Wagner in 2013.

Par GRAY ALAN. The four organ sonatas of Alan Gray (1855-1935) stand as one of the largest contributions to the sonata repertoire by an English composer. Published around 1890, they also mark an advancement in the repertoire of potential concert works. Gray had not studied abroad and his sonatas demonstrate a compelling emergence of a distinctly English style of organ sonata after almost half a century of continental influence. All four sonatas show a strong command of not only writing for the instrument but also the art of registration. Gray?s indications are clear, logical, and practical. He writes for a symphonic organ of at least three manuals but many of the pieces could be played on an instrument of only two manuals. The use of contrasting manual colours between phrases and the incorporation of solo stops is notable for conveying Gray?s views on interpretation and his strong understanding of the instrument. / Date parution : 2022-05-31/ Recueil / Orgue

Three Pieces for Organ was published in 1955. It contains three of Thiman's finer works for the instrument: Meditation on the Irish Tune 'Slane' - Pavane - Postlude Alla Marcia. Eric Thiman (1900-1975) was a British composer and organist. He taught at the Royal Academy of Music and at the University of London and was organist at the City Temple in London for many years. He wrote over a thousand works of which several hundred were published during his lifetime mostly anthems chorales and chamber works. About half of his Organ music was based on British hymn tunes.